Robert and Mary 



A Missionary Romance 



BY 
ANITA B. FERRIS 




n^.3 

m 



Missionary Education Movementlof the 
United States and Canada 

160 Fifth Avenue New York 



SUGGESTIONS FOR COSTUMES 




VRAU VANDERVICKER 



TMP96-0 



COPYRIGHT, I91S, BY 

MISSIONARY EDUCATION MOVEMENT OF THE 

UNITED STATES AND CANADA 

©aO 4991i 

JOL -5 1318 



^^fi' 



4- 



os Robert and Mary 



A Missionary Romance of South Africa 
By Anita B. Ferris 



AUTHOR'S NOTE 

This little play is a dramatization of the love story of Robert and Mary 
Motifat, the first great pioneer missionaries to South Africa. The story is told 
in The Moffats by Ethel Daniels Hubbard, (Publisher, Missionary Education 
Movement, i6o Fifth Avenue, New York City. Cloth, sixty cents ; paper, forty 
cents.) Wherever possible the historic words of the various occasions, as repeated 
by Robert Moffat himself in Labours and Scenes in Southern Africa, are used, 
notably in Act III, Scene I. 

SCENES 

Act I 

Scene i 

The home of Mary in Dukinfield, England. 

Act II 

Scene i 

The Boer homestead, South Africa. 

Scene 2 

The home of Mary in Dukinfield, England. 

Act III 

Scene i 
The Boer Homestead, South Africa. 

Scene 2 
The Boer Homestead, South Africa. 

CHARACTERS ] 

Robert Moffat, a young Scotch missionary. 

Mr. James Smith, a Scotch nursery gardener of Dukinfield, England. 
Mrs. Smith, his English wife. 
Mary Smith, daughter to Mr. and Mrs. Smith. 
Jane, an old Scotch maid servant to Mr. and Mrs. Smith. 
Margaret, Agnes, Isobel, and Phyllis, young friends of Mary Smith. 
Mynheer Vandervicker, a pioneer Boer farmer of South Africa. 
Vrau Vandervicker, his wife. 

Katrin.a. Vandervicker, eldest daughter of Mynheer and Vrau Vandervicker. 
Wilhelmina and Juliana, youngest daughters of same. (The character of 
Juliana may be taken by a real child if desired.) 

COSTUMES 

For costumes of Robert Moflfat and the Smith family, see illustrations in 
The Moffats and in this play. 

It is suggested that Mary Moffat wear pink in Act I, white in Act II, and 
a long dark cape over her pink dress, with a straw traveling hat in Act III. 

It would be appropriate for Robert Moffat to wear dark blue with a buff 
wflistcoat except in Act III, Scene i, when his suit should be obviously old and 
worn. 



For Boer costumes see pictures of Dutch costumes. Katrina, Wilhelmina, 
and Juliana may be dressed alike in blue and white, with the white Dutch cap. 

MUSIC 

A piano and violin are suggested. The selections are given at the points in 
which they occur during the play. 

Note — If the play is given at a time of year when flowers are not abundant, 
artificial flowers may be easily made from bare branches to which bits of pink 
tissue-paper are twisted, like peach-blossoms. 

Prelude before Curtain 
Solo, "Highland Mary." The instrumental music is continued 
after the opening of the curtain, for a feiv seconds. 

ACT I 
Scene i 

The living-room in the home of Mary at Dukinfield. An old- 
fashioned room. Four old-fashioned chairs, a small sewing- 
table placed stage right (audience left); a fireplace back 
center; tall candlesticks on mantel; small candle on sewing- 
table; a few floivers about the room. Time: evening. 
Mary is discovered seated on the audience side of the table, sew- 
ing. 

Voice Behind Scene 
Mary! 

(Enter hastily, stage left. Robert Moffat.) 
Robert 
Mary! Mary! I've been accepted by the London Missionary Society at last! 

Mary 
(Risi)ig quickly to meet him, stage center.) 
I knew they would accept you, Robert ! I knew ! They'd have to see that 
you were fit — oh, to do great things for the Lord. What's a college degree to 
stand in the way when it's you, Robert — Aye, youf 

Robert 
(Putting his arm about Mary.) 
There, there, Mary, you think too highly of me. It's just that I'm ready to 
work with every ounce of strength in my being for the cause of Christ in any 
land where the Lord needs me most. 

Mary 
Oh, Robert, I'm so proud of you. It makes me glad, glad to know that other 
men have seen your worth. When will they send you? Does the letter say? 





1 TiicTjiacc 1 

n 




Act I. Scene 




■Majy 


• 




StageHi^lit 






Sta^e Left 



Audienceleft FrorLt 

D'^clvaiir X-persoi^. stand-ind 

4 



Audience Right 



Robert 

(Consulting letter.) 
It says just — -"make ready for sailing within a few months for a country 
which shall be designated after you reach London." 

Mary 
(Sinking into chair.) 
Must you go so soon, Robert? I had not thought of that. 

Robert 
Why, what matters, Mary, if you go with me — Mary, my own bride? 

Mary 
But Robert, my mother and father — 

Robert 
They know that we are betrothed. I asked your father's leave to wed you, 
and he gave me his blessing. / 

Mary 
Ah, yes, but when the London Missionary Society had refused your offer. 
But here they come. 

(Enter, stage right, Mr. and Mrs. Smith, the latter leaning feebly 
on her husband's arm. For convenience in the action, al- 
though it is a breach of stage etiquette, Mr. Sm,ith walks on 
the audience side.) 
Father — mother — Robert is accepted ! 

Robert 
(Meeting Mr, Smith, stage center, while Mary tenderly seats her 
mother, stage right, and remains standing by her side.) 
The post just brought this letter, sir, from the London Missionary Society. 
Mr. Roby's efforts have been successful in convincing these gentlemen that I 
can be of service in the mission field. 

Mr. Smith 
(Shaking Robert's hand.) 
Aye, Robert, ye're a bonnie laddie, and ye hae my congratulations. It's a 
grand work before ye. 

(He steps back, stage center, and is seated.) 
Mrs. Smith 
Yes, lad, but your mother? What will she say when she learns that her 
boy is going to teach the heathen? 

Robert 

(Stage left.) 

What will mother say? (Pauses a moment, gazing off into space.) Why, 

it is she who sends me! Did she not bid me search the Scriptures every day? I 

did, and there I found my commission. Mother — how proud she will be of this 

day ! 

Mrs. Smith 
Yes, but to send a son forth — never to see his face again ! 

Mary 
Oh, mother, do not say that! Think of her joy that her son is chosen of 
the Lord for this princely work. 

Robert 
Yes, a royal work, and can you spare a daughter for it? 



Mrs. Smith 
My daughter? My Mary? My only little girl? What are you saying, 
Robert? 

Mary 
Mother, father, you know that Robert and I have plighted troth. Would 
you have Robert go alone? 

Mr. Smith 
(Springing up.) 
Robert ! O shame upon ye ! Would ye take our bairn we've raised so delicate, 
out to heathen wilds? How could she eat the fare ye'll have, and sleep upon the 
ground, surrounded by the savage beasts, and — far worse — savage men? 

Mary 
Oh, father, am I too good for the Lord's work? 

Mrs. Smith 
Mary, child, would you leave me all alone? 

Mary 
Oh, mother dear, do not think that I do not love you, that I would not give 
my life for you and my father, but you have my three brothers to comfort you. 
You will not be desolate. This is the Lord's call. Even when I was a school- 
girl at Fairfield, I prayed that God would send me to South Africa. It was 
presumptuous, I know, but 'twould be worth a thousand lives to go ! 

Mrs. Smith 
Mary, I may be wrong, but I cannot give you up — ^I cannot ! Would you 
take her from us, Robert? 

Robert 
I will not plead either for the cause or for myself. 

Mr. Smith 
Mary, ye hear? He gies ye up. 

Mrs. Smith 
Mary, I may not be here long. Can a son ever fill a daughter's place? Who 
will tend me when I'm sick? And shall a stranger's hand close my eyes in their 
last sleep? O Mary, Mary, would you leave your old mother, never, never to 
see her face again? 

Mary 
Mother, mother! 

Mr. Smith 
Never will ye go with my consent, Mary! (Crossing over to his mife.)i 
There, mither, dimia greet. (Do not grieve.) Come away to yer ain room. Ye're 
all upset. Our Mary is a good girl — aye, the best. She'll do her duty by ye, 
never fear! (Exeunt both, stage right.) 

(There is an instant's pause as Mary and Robert face one another 
alone.) 

Mary 
Robert, must you go? Is there not much good you could do right here in 
England or in Scotland? All would be so easy if you would only preach like 
other men here at home. There would be no hard, hard decision then to make; 
no heart-breaking leave to take. All would be so happy then. And surely, surely 
there is work for the Lord to be done here, right at our door ! 

Robert 
And many hands to do it. Do you wish me to stay, Mary? Shall I renounce 

6 



the great commission, and remain quietly here at home, re-furrowing the old 
soil for a meager harvest? 

Mary 
(After a pause.) 
No, Robert, no, not that easy, tame work, when you have been called, yea, 
and accepted as God's ambassador to carry the gospel to heathen lands. No, I 
would not have you stay. 

Robert 
And you, Mary? 

Mary 
(After a pause, gacing out toward audience.) 
Robert — I must — stay. 

Robert 
(After a pause.) 
And I — must go. But Mary — surely, surely, some day we shall be together! 
Such love as ours cannot die. It must win through! Who knows, Mary? Perhaps 
before I sail God will move your father and mother to give their consent. 

Mary 

Robert, they are old and full of fears they cannot conquer. They cannot 
change so easily. 

Robert 
Well, then, we may have to wait a little while perhaps, and then — you'll come 
to me! 

Mary 
Robert, Robert! Impelled by feelings I cannot master, held back by ties I 
dare not break — where can I find courage? 

Robert 
There is only one place, Mary, one place, and one Comforter. We shall 
both need him. (Taking her hand.) And now, good night, my Mary. — In the 
lane to-morrow? 

Mary 

1 have courage when I'm with you. I could face anything with you beside 
me, Robert. Yes, we'll meet to-morrow, in the lane. 

(Robert lingers for a moment, raises her hand to his lips, turns 
at the door for one last look, and then goes quickly. The 
scene becomes dark except for the candles. "We'd better 
bide a wee" is softly played off stage — on the violin, if pos- 
sible — while Mary slowly lifts the candles down from the tall 
mantel and blozvs them out one after another. She bends 
above the flowers on the table for a moment, and then pick- 
ing up the small candle from beside them, goes softly out 
stage right.) 

CURTAIN 

Music between acts : 
Vocal solo, "My heart's in the Highlands." Violin alone, just before curtain, 

"Highland Mary." 



ACT II 

Scene i 

{The Boer homestead in South Africa.) 
The same room as in Act I may be used, changed by a few addi- 
tions and subtractions into a Dutch interior. Delft plates 
adorn the mantel. There are old-time wooden chairs or small 
benches on cither side of the fireplace. Instead of the little 
sewing-table at which Mary sat, there is a bare deal table, at 
stage left back, on which a pot of tulips blooms. There are 
a fezv high-backed wooden armchairs also in the room, the 
skins of animals adorn the floor in lieu of rugs. An old- 
fashioned musket stands in one corner. Time: morning. 
Robert Moffat is discovered sitting upon a chair or bench (stage 
right, audience left), gazing into the fire. As the curtain 
rises, he lays doivn his violin beside him as if he had just 
finished playing. 
Enter Katrina, Wilhelmina, and Juliana, stage right, one after 
another, humming "Highland Mary." They tiptoe in, holding 
out their wide skirts, and each as she discovers Moffat, cour- 
tesies low, but zvrapped in thought, Moffat does not look up. 
The girls then line up in front of the fireplace and simultane- 
ously courtesy. Looking at each other with significant glances, 
they again courtesy deeply. At last Moffat becomes azvare of 
their presence and glances up, springing to his feet. 
Moffat 
Oh, I beg your pardon, Katrina, Wilhelmina, and Juliana. I did not notice. 

Wilhelmina 
Mynheer does not notice when he plays the music. (Hums last bars of "High- 
land Mary.") 

Juliana 
What is that song Alynheer makes so much on his fiddle? 

Moffat 
That is — 

Katrina 
For shame, Juliana ! You and Wilhelmina run along to your tasks. You 
should not trouble Mynheer so much. 







1 


^^5^5:^ 


ActE. Scene 1 




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XJ ^ 


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Stage liigKt 


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xw 


$xaf,e left 






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Audience Left Troivt: Audience Ri^t 

1. Position of girls during courtesy. Smallest girl nearest audience. 

2. Katrina during first part of conversation alone with Robert. 

3. General position of characters during last part of scene. Characters must not 
be afraid to step backward or forward or change their positions naturally 
during the farewell. 



Moffat 
Do not scold them, Katrina, I shall miss them very much when I am gone. 

Katrina , 

!R^ynheer goes soon? 

Moffat 
I leave this morning for Namaqualand. The men are yoking the oxen now. 
{Looks out of window.) 

WiLHELMINA AND JULIANA 

Oh, Mynheer! 

Moffat 
They are ready now, I see. I must bid your kind family good-by. 

Katrina 
Run, Wilhelmina and Juliana, and call our mother and father. 

(Exit IVilhcliitina, pouting, stage left, audience right.) 

Juliana 
(Pausing near e.vit.) 
But the song Mynheer? 

Moffat 
It is called "Highland Mary." 

Juliana 
(Courtesying and running off singing.) 
Highland Alary ! 

Katrina 
It is a song of your homeland. Mynheer? 

Moffat 
Yes, it is a song of home. 

Katrina 
(Sighing.) 
It is beautiful. 

Moffat 
(Abstractedly.) 
She is beautiful. 

Katrina 
(Quickly.) 
Ah, Mary? 

AIoffat 
What is that? I beg your pardon. 1 see that I was thinking again. 

Katrina 

(Gently.) 
She is a very dear friend. Mynheer? 

AIOFFAT 

Since you have discovered my secret, I will tell you that I hope some day 
she will come to Africa as my wife. 

Katrina 

Africa is a hard land, Mynheer. Yet my mother gave up the balls and parties 
of Amsterdam to come with my father to his farm. 

AIOFFAT 

And Mary would come to Afrikaner's Kraal, if she were free. 

Katrina 
Mynheer. Mynheer, still do you cling to that mad project of visiting Afrikaner? 
(Enter Mynheer Vandcrvicker, his wife and the children, stage left.) 



Mynheer Vandervicker 
So you are going, my son, to preach to these black men? 

Moffat 
I humbly hope to do so. 

Mynheer Vandervicker 
If you wish a congregation of that kind, I will call in my dogs. As soon 
can you talk to them as to these Hottentots. They have no souls. Stay here 
among Christians and preach to us. Gladly will we welcome you. 

Moffat 
"And he said unto her, Let the children first be filled : for it is not meet 
to take the children's bread and cast it to the dogs. But she answered, Yea, 
Lord; even the dogs under the table eat of the children's crumbs." 

Mynheer Vandervicker 
Eh, well, well, have your black men, then ; only keep away from that mur- 
derer, Afrikaner. 

Moffat 
But to him I am sent. He has asked the London Missionary Society for a 
missionary to teach his people, and they have sent me. He is a Christian now. 

Vrau Vandervicker 
Tut, tut ! Never believe that, Mynheer Robert ! 
Mynheer Vandervicker 
Eh, the lion fondles the sheep now. He no longer eats them! 'Tis a new 
fashion. 

Moffat 
Nevertheless he has asked for me. 

KATRIN.^ 

But Mynheer, did he not drive that devoted missionary, Christian Albrecht, 
out of his country? 

Vrau Vandervicker 
Did he not murder the farmer whom he served? 

Moffat 
Was he treated with justice by that farmer? 

Mynheer Vandervicker 
These Bushmen and Hottentots did not cultivate the soil and use it properly. 
We Boers could. To the Boers should it belong. Afrikaner has defied the 
colonial government for years. A great price is set upon his head. He lives 
by murder and theft. The Boer farmers has he robbed and murdered. He is 
a terror to the tribes to the north. No commando sent out against him could 
take him. Afrikaner a Christian — ja\ — . It is a trick to add the murder of a 
fine young man to his already long list. 

Moffat 
W^ell, then, I will die, if necessary. But first I will find whether Afrikaner 
be a Christian, and if he is not, I will use every power the Lord has given me 
to win him to the cause of Christ. 

Vrau Vandervicker 
But the desert, my son? You do not know our African deserts, and you 
must cross one to reach Afrikaner. For days you will not find a drop of fresh 
water to moisten your lips. 

10 . 



Juliana 
(Coming out to stage center.) 
Oh, Mynheer, do not go ! Aly nurse, who is a woman of the Bushmen, says 
every night the lions roar and kill— in the desert. 

AIynheer Vandervicker 
Hush, child, the young man is mad ! He will not listen. 

JMOFFAT 

(Taking Vrau Vandervicker's hand.) 
Well, I must say good-by. 

Vrau Vandervicker 
(Wiping her eyes.) 
Oh, Mynheer, had you been an old man, it would have been nothing, for" 
you would soon have died, whether or no ; but you are young, and going to be 
a prey to that monster ! 

Moffat 
There, mother Vandervicker, do not grieve on my account. I have strong 
faith that the Lord has called me to this work, and I do not fear. 

Vrau Vandervicker 
But if you were my son — 

Moffat 
My mother and those who hold me dear have bidden me go ! 

Vrau Vandervicker 
I cannot understand such heartlessness. 

Moffat 
(Shaking hands with IVilhelmina.) 
Good-by, Wilhelmina. (IVilhelmina courtesies.) God be with you, my little 
Juliana (to Juliana, icho courtesies, or if she is a small child, kisses him). 

Mynheer Vandervicker 
And with you. You'll need Him ! 

Moffat 
(Shaking hands zvith Mynheer Vandervicker.) 
I thank you for all your kindness, and for the rest and refreshment you 
have given to me and to my cattle. 

Mynheer Vandervicker 
Well, stop again if you ever pass this way — which I do not expect, for as 
sure as I live, Afrikaner will set you up as a mark for his boys to shoot at. He 
will make of your skin a drum to dance with. 

Katrina 
(As Moffat takes her hand.) 
You say. Mynheer, the men have souls? 

Moffat 
That is the reason why I go. 

K.\trina 
I will remember, Mynheer. 

CURTAIN 

Vocal music as soon as curtain closes: 
"The son of God goes forth to war." 

Scene 2 

The home of Mary in Dukinfield, England. The same living- 
room as in Act. I. Time : afternoon. 

11 i 



There, my bairn, dinna greet. 



Why, Jane, I wasn't greeting. 



Music : 

As the curtain is drawn, the music of "We'd better bide a wee" 
is very faintly heard, played on the violin. 

Jane, the Smith's Scotch housemaid, is discovered siveeping the 
hearth zvith a goose-wing, zvhile Mary sits by the seiuing- 
table, stage right, embroidering. She takes a fczv stitches 
and then her hands drop in her lap, zvhile she gazes off into 
space. Jane glances at her from time to time, over her shoul- 
der. At last she drops her brush and goes to her. 

Jane 
Dinna greet ! 

Mary 
{Laughing.') 
I was just — thinking a minute. No, I'm too 
busy — and happy, to greet. There's that family of Robin Goodwin. Poor Robin 
always was a shiftless fellow. I'm making this little dress for his baby. I must 
hurry. Lettice told me Annie was sick again, too. Jane, you'll make some nice 
broth for me to take to her when I carry this little dress to the baby? 

Jane 
Ah, my bairn, is there no hope then? Will yer mither and father never see 
that when twa young things love like ye and Robbie, ye should be tagither? 

Mary 
Hush, Jane. There's duty as well as love in the world. Robert is doing his 
duty — such a splendid, splendid duty— and I am trying to do mine. We could not 
be happy otherwise. 

Jane 
Then there's na hope at a', bairn? 

Mary 
No, Jane — not of that sort. I have written Robert that it is settled once 
and for all. My parents will never consent. It would be only weakening to 
Robert in his great work to go on hoping in vain. It is better for us both to: 



Audience Left 



Frort-t 



Act n. Scene 2. 




Audience Ilig^t 



@^7 °^'-^- 

Grouping for reading of the letter. 
arrangement for tea-drinking group as indicated. 
Margaret at piano and Isobel standing during songs. 

When the guests enter the chairs are brought forward from various positions: 
The seating should not be anticipated in the stage setting. 



12 



face the facts squarely. I feel a great deal stronger, now that I know definitely 
what is before me in my life. 

Jane 
(Sighing.) 
Ah, bairn, bairn! 

Mary 
There Jane, dear, don't trouble any more about me, and believe me when 
I tell you that I'm happy. Now go and make me the best broth you know how 
for poor Annie. 

Jane 
Weel, weel — but I hear the knocker. (Goes hastily out, stage left, where 
voices are heard behind the scene.) 

(Enter, stage left, audience right, four young women.) 
All 
(Gaily.) 
Good day, Mary ! 

Mary 
(Courtesying and going forward hospitably.) 
How do you do, all of you? Come in and be seated. (The conversation 
continues through the action.) 

Phyllis 
We began to think you had eloped with some fine young man you had met 
in Manchester, last time you went with your father. 

Agnes 
Or you had become a fay and vanished up the chimney. 

Isobel 
Oh, I've caught glimpses of Mary now and then, disappearing down some 
poor lane. If you want Mary's attention, friends, you must wear a ragged coat 
and tell her the sad tale that you haven't eaten since yesterday. 

Mary 
Oh, girls — girls ! 

Margaret 
No, it is her Sunday-school class. Those little rowdy boys — 

Mary 
They are not rowdies, Margaret. They are fine and manly— 

Phyllis 
Listen, would you, those terrors of the town, and (mimicking Mary) — "they 
are fine and manly !" 

(Jane enters stage right with a tray of tea things which she places 
on Mary's table. She remains and passes the cups unobtru- 
sively.) 

Isobel 
Oh, well, we all know there have been no more windows broken and no more 
linen stolen from the lines since Mary took those boys into her capable hands. 

Mary 
(As she pours the tea.) 
It's just that they've never had a chance before — 

Agnes 
Now Mary, please attend to the things of this world for a space. 

13 i; 



Mary 

(Passing her a teacup, since she sits next.) 
I am. Will you have some tea? 

Margaret 
Oh, I'm bursting with the news, Mary — (All draw closer.) 

Agnes 
Mary — 

Isoee:. 
Mary — 

Phyllis 
Janet is to be married on Thursday! 

Mary 
Why, I never dreamed so soon, and I have not my gift ready. 

Agnes 
None of us have for that matter, but David has been called to the kirk at 
Langholm, and so their plans have changed. Janet is so happy. 

Mary 
I'm so glad for her. David and she have been such happy lovers. 

Margaret 
She has shown me her wedding garments. You must see them, Mary. They 
are beautiful. 

Mary 
I should love to. 

Isobel 
They say her wedding-gown will be of white pineapple silk, and comes from 
London. 

Phyllis 
My mother says 'tis a scandal for a dominie's bride to be dressed so fine. 

Mary 
Ah, no, her gown should match her happiness, if possible. 

Margaret 
Janet will make a sweet mistress of the manse. I can see her pouring tea 
for the ladies of her congregation. (Mary laughs.) Mary, what are you laugh- 
ing about? 

Mary 
I was thinking of the many things a minister's wife must do besides pour tea 
for guests. 

Margaret 
Now you're too practical, Mary. Do let us dream a little. 

Mary 
I wonder what a mistress of the manse would do in South Africa. 

All 

South Africa! 

Margaret 
Horrible! What are you thinking of? Why, there they do not live long 
enough even to pour tea. 

Isobel 
Oh, by the by. Have you heard anything of that splendid young man who 

14 



worked in your father's nursery last year, and was sent by the London Missionary 
Society to South Africa? 

{Jane reenters, stage right, collects cups and removes tray. 
Exit stage right.) 

Mary 
We heard that he reached the coast in safety. 

Margaret 
I know it was heroic for him to go, still, such devotion is beyond my under- 
standing. {Meditatively.) Xow Mary — I could dream that you would do a 
thing like that. 

Agxes 
Then how fortunate he did not try to take our Mary with him ! 

Mary 

{Hastily.) 

Come, let's have some music. Isobel, I haven't heard you sing for weeks. 

ISOBEL 

{Going to the piano up stage left, at zchich Margaret has seated 
herself.) 
That was your good fortune, my Mary. {She sings "Comin' thro' the rye.") 

Phyllis 
You are too frivolous, Isobel. Give us something suited to our mature years. 

IsOBEL 

Very well, here's something that ought to please any lovelorn spinster. {Whis- 
pers to pianist and sings "Annie Laurie" or "Robin Adair.") 

All 
{Applauding.) 
Encore ! Encore ! 

Isobel 
Farewell, ladies. I can no more. {All rise.) 

Mary 
Thank you so much for the music, Isobel. 

Agxes 
Mary, please think of something we can all do for Janet before she is wed, to 
show our love. We shall miss her greatly. She is the first of our circle to flit. 

Mary 
I'll try to think. 

Margaret 
Yes, do, Mary. You have the longest thoughts of any of us. We can always 
depend on you to think of something kind and worth while to do for some one 
else. 

All 
{Courtesying.) 
Good-by, Mary. 

Mary 
{Courtesying.) 
Good-by, my dears. 

{E.reunt visitors.) Mary turns back to the table, humming the last 
song. She picks up her sewing, still humming, and scats her- 
self in Agnes' place. 



Mary 

(Dropping her work.) 
Oh, Robert! Robert! (She buries her face in her arms on the tabic.) 

Mr. Smith 
(Calling excitedly behind scene.) 
Mary! 

Mary 
(Springing up.) 
Yes, father ! 

(Enter Mr. Smith, folloived by Mrs. Smith, stage left.) 
Mr. Smith 
Mary, the post has just brought a letter to you from South Africa — from 
Robert Moffat! (Mary tears open the envelope.) 

Mrs. Smith 
What does the lad say? (She sits down stage center, her husband taking the 
chair on her left, Mary seated on her right.) 

Mary 
Here it is: (Reads.) 
My dear friend : 

On the 26th of January, 1818, I arrived, with emotions of the deepest gratitude 

to God, at Afrikaner's Kraal. You can picture my emotions when at last I stood 

face to face with that famous chief, so hated, so dreaded by white and black alike ! 

"You are young," he said, "but I hope you will live long with me and my 

people." 

But alas ! A terrible quarrel arose between Titus, the brother of Afrikaner, 
and my colleague, Mr. Ebner, who, in great excitement, left the station with his 
family. So here am I alone in the heart of Great Namaqualand. Hardly did I 
know which way to turn in my inexperience, nor what to do. 

Now, although it seems a miracle, I am beginning to win the friendship of the 
dreaded Afrikaner. He hath learned to read the Bible, and seems to me not far 
from the Kingdom. His fierce and terrible brother, Titus, has also done me many 
kindnesses. My heart overflows with gratitude at these tokens of divine grace. 

As for me, I am carpenter, smith, cooper, tailor, shoemaker, miller, baker, 
and housekeeper — the last the most burdensome of any. Indeed, none is 
burdensome but it. But what are petty inconveniences or even the sacrifice of sep- 
aration from those most near and dear? Have I not Afrikaner for my hire? In 
the midst of my greatest hardships I felt as I do at this moment, that I desire to 
suffer anything, even death itself, if but Christ is glorified in the salvation of the 
poor heathen. 

Still I have the hope, dear friend, that some time in God's good providence you 
shall stand by my side with me, ministering to these heathen souls, a constant 
inspiration and solace to me. If one may serve the Lord alone, is not the service 
doubly strong of two ? 

I must conclude, desiring to remain your most affectionate but unworthy friend, 

Robert Moffat. 
Mrs. Smith 
Father, Mary^ — I can stand in the way no longer. I durst not. This is the 

Lord's will. ,t o 

Mr. Smith 

(Springing up.) 

Mither, do ye say that word? Have ye the courage? Do ye ken what it 



means 



16 



Mrs. Smith 
**! desire to suffer anything even death itself, if but Christ is glorified in the 
salvation of the poor heathen"— those were Robert's own words. Shall we hinder 
him? Shall we hinder Mary? Dare we? 

Mr. Smith 
(After turning away for an instant and pacing up and down.) 
Mary, ye may go ! 

Mary 
Father, mother — but you said never! Surely you do not mean it? Oh, you 
would not jest! Tell me again! (Kneels by her mother's side.) 

Mrs. Smith 

(Taking her husband's hand and speaking calmly.) 

It is true, Mary. Aye, we have been questioning in secret this many a day, 

although our words to you were firm enough. But the lad's letter has done it. 

God has given us strength enough for this day, and he will give it for all the days 

to come. I'm at rest now. 

Mary 
Oh, mother, father! It seems as if it would kill me to leave you, my dear, 
dear parents. Yet I must go (rising). I must go if you are willing. I would 
sink beneath the weight of conscience did I linger. And Robert — I have written 
liim destroying his last hope, bidding him never think of our marriage again. 
And he must receive that letter alone — in Africa ! 

Mrs. Smith 
Aye, but the news of this day will be glad tidings for the lad. 

Mary 
It will be months before he can receive my letter — perchance a year. And 
then, perhaps, I'll reach him first! 

CURTAIN ON TABLEAU 

Vocal Music : 

"The morning light is breaking." 

ACT III 

Scene i 

The Boer homestead in South Africa more than a year after 



Audience left 



Fxortt 



Act BT. Scene I 




Audience Ri^t 



X 



xw 



General position of group for beginning of conversation and which should 
.be changed easily and naturally as circumstances demand. 

17 



Robert Moffat's first visit. The room is the same as in Act 
II, scene J. Vrau Vandervickcr, Katrina, Wilhclmina, and 
Juliana are discovered seated, knitting, sewing and spinning 
by the fireside. Juliana, on a low stool, close to the fire- 
place, stage left, nurses her doll; beside her sits her mother, 
knitting. On the opposite side of the hearth sits Katrina, 
turning her spinning-wheel, while on her right is IVilhelmina, 
sewing. As Katrina turns her wheel, she hums "Highland 
Mary." Time: afternoon. 

Juliana 
That is the song, Katrina, the young Mynheer Moffat used to sing. 

WiLHELMINA 

I am so sorry he was killed. 

Vrau Vandervicker 
Eh, such a pity — so young a man ! I could weep almost as if he had been my 
own son. 

Katrina 
Somehow I cannot credit he is dead. I believe Mynheer Moffat could win 
even the heart of Afrikaner by his love and kindness. 

Vrau Vandervicker 
The heart of a hyena of the desert, perhaps, but not of jaguar Afrikaner! 

Katrina 
But mother, see how trustworthy and kind our Hottentot women have become 
since I gathered them together and taught them the Bible. My Cornelius says, 
when we are married he will build a school for our servants. 

Vrau Vandervicker 
Soon you will have Cornelius Kip so distraught with the notions you got from 
the Mynheer Robert that he will leave his good farm and go on a mission to the 
black heathen. For shame, Katrina. 

Katrina 
I think it not shame, mother, that my Cornelius is a good man. 

Vrau Vandervicker 
Well, in heaven's name let him be a good Boer farmer then ! 

Juliana 
I loved the Mynheer Moffat. He carved me such beautiful dolls out of 
wood. Don't you think perhaps he might be yet alive, mother? 

Vrau Vandervicker 
How could he escape, child, from the camp of that cutthroat, no white man in 
the whole land to come to his rescue? Besides, your father has heard many 
rumors of his death. 

(Enter Mynheer Vandervicker, stage left; hangs tip his cap and 
pulls up a chair near his wife.) 

Mynheer Vandervicker 
Well, well, Vrau, the news I told you of Mynheer Moffat is but too true. 

Vrau Vandervicker 
That he is dead, my husband? 

Mynheer Vandervicker 
Brom Berker has seen his bones bleaching by the roadside. 

Katrina 
Oh, father! 

IS 



Juliana 
The good Mynheer Robert ! 

WiLHELMINA 

And I was wishing he could come again. 

Vrau Vandervicker 
'Tis but confirmation of the tales we've heard already. We were this minute 
talking of him. Did I not tell him it was madness for him to seek that monster? 
And he such a fine straight young man ! 

Mynheer Vandervicker 
I did my best to warn him. But he had some wild notion that the Lord 
Almighty would preserve him. Not when you place your head into the lion's jaws, 
say I. Xei}i, ncin! 'Tis against reason — against reason. {A knock is heard.) 
Some one knocks. What visitor comes now? (He strides to the door, stage right, 
opens it, and then quickly shuts it again.) Mother, mother, go into the kitchen! 

Vrau Vandervicker 

Why, husband, what makes it? You are white like you had seen a ghost! 

Mynheer Vandervicker 

(In great excitement.) 

Go, I tell you ! Wilhelmina, Juliana, go with your mother ! 

Vrau Vandervicker 
Ach, the man has lost his mind! Come children. 

(E.veiint Vrau Vandervicker, Wilhelmina, and Juliana, stage left.) 

Katrina 



Father, what is it? 



Is it there still? 



AIynheer Vandervicker 
(Opening door a crack.) 



Robert AIoffat 
(Speaking from behind door.) 
W^on't you let me in, Mynheer Vandervicker? I am your old friend Robert 
Moffat. 

Katrina 



Open the door, father! 
God protect us ! 



Mynheer Vandervicker 



(Enter Robert Moffat.) 

Moffat 
(Holding out his hand.) 
Won't you shake hands with me. Mynheer? 

Mynheer Vandervicker, 
(Refusing Iiis hand.) 
Who are you? 

Moffat 
I am Moffat. Have you forgotten me? 

Mynheer Vandervicker 
(Backing ativy across stage.) 
Moffat! It is your ghost. Don't come near me. You have been long mur- 
dered by Afrikaner. 

Moffat 
(Feeling his hands and arms.) 
But I am no ghost! Here, Katrina. you see that I am a living man. 

10 



Katrina 
(Coming forzvard and taking his hand.) 
Mynheer Moffat! 

Mynheer Vandervicker 
Everybody says you have been murdered. A man told me he had seen your 
bones. (He remains staring at Moffat.) 

Katrina 
I must tell mother. (Exit hastily stage left.) 

Mynheer Vandervicker 
When did you rise from the dead? 

Moffat 
I never died. I have been living for more than a year peacefully with Afri- 
kaner. 

Mynheer Vandervicker 
This is the truth, man? 

Moffat 
The truth, as I stand before you. 

Mynheer Vandervicker 
How did you escape that murderer? 

Moffat 
He is now a truly good man. 

Mynheer Vandervicker 
That I cannot credit. 

(Reenter Vran Vandervicker and daughters, stage left.) 
Vrau Vandervicker 
Mynheer Robert, you live? 

Wilhelmina and Juliana 
Mynheer ! Mynheer ! 

Moffat 
How do you do, Vrau Vandervicker? You see I have returned safe and sound. 
(Shakes hands with Vrau Vandervicker and the girls.) 

Juliana 
Father, Brom Berker did not see his bones ! 

Moffat 
They are all in my own body yet, Juliana. 

Vrau Vandervicker 
(Sinking into a chair, stage left, while all seat themselves, Myn- 
heer Vandervicker and Moffat, stage right, Juliana placing her 
stool close to her father's knees.) 
Now let the Lord be praised ! We had believed you dead these many 
months. No wonder my good man thought a ghost had visited us. and wished to 
spare me. 

Mynheer Vandervicker 
And he says, wife, that Afrikaner has become a Christian. 

Vrau Vandervicker 
'Twere easier to believe Mynheer had risen from the dead than that. 

Moffat 
You would believe it could you see Christian Afrikaner sitting on a bench 
beside my schoolboys, diligently studying, or sitting for hours at a time in the 
shade of a great rock, reading his Bible, or pondering at night the great pur- 
poses of God, his eyes upon the stars. 

20 



Mynheer Vandervicker 
Can this be he who stole the herds of white and black alike? 

Moffat 
Alas, of his many herds few cattle now remain, and those few he freely shares 
with those who have none, or who are sick and needy. 

Vrau Vandervicker 
He who was a terror to his enemies? 

]M0FFAT 

Instead of raising his gun to settle a quarrel now, I have seen him step 
between the lifted spears and plead with one and then the other to act like 
brothers. 

Mynheer Vandervicker 
Anything can I credit but Afrikaner a peacemaker. There are seven wonders 
in the world ; that would be the eighth ! 

Moffat 
His brother, the terrible Titus, also is one of my best and truest friends, to 
whom I owe unnumbered kindnesses. Both Afrikaner and his brother, who gave 
me once scant welcome, are now my cherished friends. 

Katrina 
(Softly to her mother.) 
Did I not tell you? 

AIynheer Vandervicker 
If what you assert respecting that man Afrikaner be true, I have only one 
wish, and that is to see him before I die; and when you return, as sure as the 
sun is over our heads, I will go with you to see him, though he killed my uncle ! 

Moffat 
(Starting, and then pausing a iiioiuent in reflection.) 
Mynheer Vandervicker, you are a good man. I can trust you. You may see 
Afrikaner now, for he is in charge of my oxen, waiting at your gate. (Rises, steps 
to the zi'indoiv, and pulls the curtain aside.) Behold him. (All rise in alarm.) 

Mynheer Vandervicker 
(Looking, and speaking reverently.) 

God, what a miracle of thy power! 

Vrau Vandervicker 
(Tremblingly.) 
!My children, stay here by my side. 

Moffat 
No cause for fear, mother. Afrikaner would not lift so much as a finger 
against you. He is on his way with me now to visit the governor at the Cape. 

Mynheer Vandervicker 
But the price upon his head ! 

Moffat 
For three days his tribe deliberated, and then they decided to trust their chief 
to my protection. Will not the governor welcome a man who from murderer has 
turned peacemaker? Whose tribe no longer steals, but lives as honest herdsmen, 
making life and property safe in all Namaqualand? I think he and all good citi- 
zens will welcome Afrikaner, and on that faith I stake my life and reputation. 

Mynheer Vandervicker 

1 will go out and see this man ! 

Vrau V.a.ndervicker 
My curiosity will take me to the door — but children, stay by me ! 

21 



Mynheer Vandervicker 
(Laughing over his shoulder as he goes out, stage right.) 
Well, wife, you do not trust our Mynheer Moffat overmuch! 

Vrau Vandervicker 
But the man is Afrikaner! 

Juliana 
I want to look on him. {Exeunt I'rau J 'andcrvicker and Juliana, stage right.) 

Wilhelmina 
And I. (Exit stage right.) 

Katrina 
(To Moffat, stage center.) 
Mynheer, I have remembered my promise. I, too, have had cause for thanks- 
giving. Our women here are Christians now. 

Moffat 
My faithful Katrina ! 

Katrina 
And — Mynheer — in the year I shall wed Cornelius Kip. He has promised to 
build a school for our herdsmen and their children. He now believes, too, these 
black men and women have souls. 

Moffat 
You will be true missionaries. 

Katrina 
Mynheer — we are so happy, Cornelius and I. Am I too bold, Mynheer — ^when 
you come back to live with Afrikaner and his tribe — will — the Mary of your 
homeland come with you? Will she be ready then? 

Moffat 
Katrina, that was a happy dream which I believed a year ago, but now — it's 
ended — for all time. She has written that her father never will consent. 

Katrina 
Oh, Mynheer ! 

Moffat 
All happiness here in this world is mutable, Katrina. We must not build too 
much upon it. I have been comforted by one who sticketh closer than a brother 
— when I've been most cast down. But do not think of me, Katrina. (Shaking 
hands.) I give you the best of my good wishes for your future happiness. Now, 
come and see my good friend Afrikaner. 

CURTAIN 

Instrumental Music : 

"Christ the Lord is risen to-day." played very softly. 

Scene 2 

The same room as in previous scene, almost a year later. Vrau 
Vandervicker sits placidly spinning, stage right near fire- 
place, zvhile Katrina and Juliana, their arms full of spring 
flowers, fill vases and jars till the room is a bower of beauty. 
Meanzi'hile one or all of them sing softly, "Christ the Lord is 
risen to-day." as they work. Time: morning. 
Katrina 
There, does the room not look beautiful now, mother? I want Mynheer Moffat 
to feel that we are very glad to welcome him again. It is nearly a year since we 



saw him last on his way to the Cape with Afrikaner. And to think that the 
governor hath sent Afrikaner home with gifts instead of punishing him! Myn- 
heer Mofifat will think we celebrate the triumph. Too bad Mynheer cannot go 
with him, but must teach another tribe now. 

Vrau Vanuervicker 
The room looks like Easter time when I was a girl in Holland. 

Juliana 
Well, it is nearly Easter, mother. 

Katrina 
It will be the first real Easter for our people. 

Vrau Vandervicker 
You have your room all bright with blooms, but are you sure Mynheer will 
come to-day? 

Katrina 
Father said Jacob had reported passing the ox-wagon of Mynheer Moflfat 
when he drove in the new cattle. He must be near now. 

(Enter Wilhelmina breathlessly, stage right.) 
Wilhelmina 
Mother, Katrina, I have seen the wagon of Mynheer Moffat coming, and there 
is a woman in it ! 

Vrau Vandervicker 
A woman! How comes that? 

Wilhelmina 
Jacob says it is a wife ! 

Katrina 
Mother! Can it be Mynheer Moffat has married at the Cape? 

Vrau Vandervicker 
And would not that be good news? Poor young man, no one to do for him. 
He needs a wife. 

Katrina 
But mother, he was betrothed to a woman of his homeland and she loved him. 
I told you that. 

Vrau Vandervicker 
Ja, but you said she had broken troth. 



Stage Ki^ht I 



Audience Left 



M.V 



XM XW 



7roi\X 



Act m. Scene 2- 



Stage Le/t 



Aadience Right 









1. Relative positions for the introduction of Mary to Frau Vandervicker. 

2. Last tableau group. 

23 



Katrina 
No, not that. She could not marry him. Her father would not give consent. 

Vrau Vandervicker 
Well, well, what would you? She was many thousand miles away. 

Katrina 
Oh, mother, mother — would my Cornelius — oh, you do not understand ! And 
I thought him true as a knight. And then to take a second best ! I do not wish 
to see him. 

Vrau Vandervicker 
Why child, what ails you? You must welcome Mynheer Robert. 

WiLHELMINA 

(At window.) 
He is almost here. 

Katrina 
No, I cannot. 

Juliana 
It isn't "Highland Mary," sister? 

Katrina 
Oh, no, it isn't. She could not come. 

Juliana 
Then I won't like this new one either. 

Vrau Vandervicker 
Come, be sensible, children. (Talking is heard zvithont.) There they are at 
the door. Do not spoil the welcome for Mynheer. 

(Enter Mynheer Vandervicker, Robert Moffat, and Alary Moffat, 
stage right.) 

Mynheer Vandervicker 
Vrau, daughters, here are our Robert Moffat and his wife ! 
(Katrina and Juliana retreat, stage left.) 
Moffat 
(Shaking hands, stage center.) 
My good Vrau Vandervicker, I am so glad to see you. This is my bride. 
Vrau Vandervicker 
(Shaking hands ivith Mary.) 
I bid you a cordial welcome to our home. Our Mynheer Robert is like a son 
to us. 

Mary 
I am so glad to know you, Vrau Vandervicker. Robert has told me much of 
your kindness to him. As his wife I want to thank you. 

Vrau Vandervicker 
Let me take your cloak and hat. (Suits action to words and lays zuraps on 
chair.) 

Moffat 
And this is Wilhelmina (leading her forzvard). She's a good girl — one of the 
best. And Katrina — where is she? (Katrina courtesies coldly.) Ah, here, behind 
the flowers [chair or other object]. This is Miss Katrina Vandervicker, one of 
my most helpful friends. 

iMary. 
(Going forzvard and holding o^ut her hand.) 
How do you do, Katrina? — May I call you so? Robert has told me of your 
sympathy and zeal for the cause. (Katrina courtesies, but does not take the hand.) 

24 



Moffat 
(Aside.) 
Why, Katrina, have I offended? What have I done that you do not care to 
welcome Mary? 

Katrina 
(Looking up for the first time.) 
Mary ? Mary ? 

IMOFFAT 

Why, of course, the Mary of my homeland. You won my secret from me by 
your woman's intuition. 

Katrina 
But you said. Mynheer — 

Juliana 
Is it "Highland Mary," Mynheer Moffat? 

IMOFFAT 

And who else could it be, my Juliana? 

Katrina 
Oh, Mynheer ! But you said she could never come, never ! 

Moffat 
God in his good providence brought it to pass. Her parents gave their con- 
sent at last. 

Katrina 
(Coming out.) 
Mynheer — can you forgive me? I am ashamed. 

Moffat 
But I do not understand. 

Vrau Vandervicker 
She thought your bride was some one else, Mynheer. 

Mary 
(Smiling.) 
I thank you for your loyalty, Katrina. (Takes her hand.) 

(During the folloiving dialog Moffat zvalks over to Mynheer 
Vandervicker, stage right, and they comment together from 
time to time on ivhat is going forivard. IVilhclmina and Juli- 
ana also exchange comments, stage right.) 
Katrina 
I welcome you a thousand times. Vrau Moffat. The Mynheer Moffat needed 
you. 

Vrau Vandervicker 
But, Vrau Mary, surely you have won him from his plan to go back to the 
heathen tribes to live among them? No white woman could keep house in such a 
place. 

AIary 
But I long to go there as much as Robert. Vrau Vandervicker. I came from 
England for that purpose. 

Vrau Vandervicker 

Impossible ! 

AIary 
'Tis the work I would do above all other. 

25 



Vrau Vandervicker 
Eh, but can you endure the long weariness of the wagon drawn by the slow 
creeping oxen, the burning sun on the desert, the thirst and hunger, and the howl- 
ing of the beast of prey at night? 

Mary 
I can, God helping me, and be right merry by the way. 

Vrau Vandervicker 
But when you reach the tribe, there will be no white woman there to wel- 
come you. 

Mary 
Then will I make friends of the black. 

Vrau Vandervicker 
Their customs are not your customs. I know the women of the Bushmen. 

Mary 
I will learn their customs. 

Vrau Vandervicker 
They are thieves and vile. 

Mary 
Did not Christ die for them? 

Vrau Vandervicker 
Their tribal wars are frequent. You will dwell in terror. Long nights will 
you keep vigil. And what if there be children in your hut to share your peril? 

Mary 
I can drink this cup also. 

(Robert comes close to Mary's right.) 
Vrau Vandervicker 
And you would endure all this for Robert? 

Mary 
For Robert, yes — but not for him alone. For I am called not to the lot of 
ordinary human bliss, but to the companionship of a great purpose and a great 
endeavor. You have told me, Vrau Vandervicker, of the trials before me. What 
about the joys? When these heathen men and women put off their age-long 
sins, and put on Christ, what then? 

Vrau Vandervicker 
They'll be slow enough before that transformation. 

Mary 
Still it will surely come! 

Robert 
Have I not one witness to give us faith for coming y-ears, Vrau Vandervicker? 

Mynheer Vandervicker 
Aye, that miracle, Afrikaner! Wife, remember him! 

Mary 
Hark, what was t^-'at? 

(A chorus off stage is heard singing, "Aivake my soul in joyful 
lays.") 

Katrina 
It is my little band of Bushman Christians. They sing to welcome you and 
Mynheer Robert. 

26 



Mary 
A happy augur for our future life! 

Tableau : 

Robert and Alary in the center of the group. Singing continues 

softly as curtain falls. 

THE END 



27 



Highland Mary 



Itob«rt Burna. (1768-170S) 



KATHERINE OGIE " 
mf 



Arrangred by Colin Oo« 






^ 



Andantino. 



1. Ye banks and braes, and streams a-round Tbe 

2. How sweet - ly bloom'd the gay green blrk, How 

3. Wi" raon-y a vow and lock'd em-brace, Our 
^. O ! pale, pale now those ro - sy lips I 




^^ ^^^ s E p ^^ 3= g ^ pjp5i^ 



=^=3^^=^- 



-y — 



cas - tie o" Mont - gom-er - y, 

rich the haw - thorn's bios - som, 

part - Ing was fu' ten - der; 

aft ha'e klss'd sae fond - ly ! 



Green be your woods, and fair your flow'rs, Your 

As, un - der-neath their fra - grant shade, I 

And, pledg - Ing aft to meet a - gain, We 

And clos'd for aye the spark- ling glance That 



i 



^T* 



^T^ 



m 



sa z. *b W IT = 



^—^^ 






^J^- 



^ 



-^- .^ , ,r3 



f-^-^33 p ^^F^= ^?F = ^F^ 



wa - ters nev - er drum- lie. There slm - mer first un - fauld her robes. And there the laiig-est 

clasp'dher to my bos-omVThe gold - en hours, on an- gel wings, Flew o'er me and my 

tore our-sels a - sun - der. But, 01 fell death's uu - time-ly frost. That nipt my flow'r sae 

dwelt on me sae kind- ly! And mould'ring now In si - lent dust That heart that lo'ed me 



^^^m^^^f^^ 



^ 



:J^^ 



m 



- J. J j^ 



^ 



Wz 



=?2= 



tar - ry ; Tor thTre I took the last fare - well 0' my sweet High- 
dear -le; For dear to me as light and life Was my sweet High- 
ear - ly! Now.green's the sod, and canld'sthe clay. That wraps my High- 
dear -ly! But still, with- in my bos- ora's core. Shall live my High- 



land Ma 

land Ma 

-land Ma 

land Ma 



B.C. 



ry- 
ry- 
ry- 

B.C. 




From "Gems of Scottish Song," by permission of the publishers, 
Oliver Ditson Company, Boston. 



2 5 



SUGGESTIONS FOR COSTUMES 




ROBERT 



MARY 




29 



MISSIONARY PLAYS AND EXTERTAIXMEXTS 

Persons interested in the use of plays as a form of missionary education will 
find the following of great value. 
The Pilgrimage. By Helen L. Willcox. A thrilling story of a first day of the 

Moslem pilgrimage to Mecca. About 2 hours. 2^ cents. Twelve copies 

required. 
Broken Chains. By Xellis C. Dodd. The romance of a Turkish girl breaking the 

chains of custom. 40 to 50 minutes. 25 cents. Ten copies required. 
Slave-Girl and School-Girl. By Helen L. Willcox. The home life of a well-to-do 

Chinese bookseller. 30 to 40 minutes. 25 cents. Seven copies required. 
Kosiki. By Amy Kellogg. The transformation of a Korean village through the 

influence of one Christian convert. 15 minutes. 15 cents. Five copies 

required. 
Kanjundu, or From Fear of the Enemy. By Helen L. Willcox. Presents the 

conflict of Christianity with heathenism in Africa. About i hour. 25 cents. 

Fifteen copies required. 
Sunlight or Candlelight. By Helen L. Willcox. An American girl visits a 

Japanese village and learns not only much about the Japanese, but also many 

things about her own homeland. About 30 minutes. 25 cents. Five copies 

required. 
The Heroine of Ava. By Helen L. Willcox. A tale of Burma in the days of 

Adoniram Judson. About 2 hours. 25 cents. Twelve copies required. 
The Test. By Helen L. Willcox. This is written in blank verse, and is a 

thrilling story of life amo'ng Mohammedans. About 45 minutes. 25 cents. 

Six copies required. 
Granny of the Hills. By Belle B. Qokey. The sacrifice of Granny of the South- 
ern Mountains for the education of her grandson Danny. About i hour. 25 

cents. Fifteen copies required. 
Election Day. By Helen L. Willcox. One day's happenings in a "moonshiner's" 

home, showing the old life merging into the new. About 30 minutes. 25 

cents. Five copies required. 
Tzi'o Thousand Miles for a Book. By Helen L. Willcox. The story of the Xez 

Perces Indians who traveled from the X'orthwest to St. Louis seeking the 

White Man's Book of Heaven. About 2 hours. 25 cents. Twelve copies 

required. 

Just Plain Peter. By Janet Prentiss. For Juniors. The story of two Italian 
orphans in a tenement. Suggestions for playing the games of foreign children. 
About 30 minutes. 25 cents. Four copies required. 

Children of the Christmas Spirit. By Anita B. Ferris. A lesson in world 
brotherhood and a Christmas entertainment for boys and girls. About 25 
minutes. 15 cents. Fourteen copies required. 

El Dorado: A Pageant of South American Freedom. By Helen L. Willcox. 
This Pageant has a Prelude and Interludes which form connecting chronologi- 
cal links. The four Episodes deal with the Spanish conquest: slavery in 
Brazil; the campaigns of San Martin; and the beginnings of religious liberty 
in Peru. The plan is flexible so that one Episode can be used entirely apart 
from the rest or all the material can be put together. 25 cents a copy. Fee 
for community presentation, $25. 

30 



Larola. By Helen L. Willcox. A blank verse play dealing with the caste system 

in India. Much of the action is founded upon actual occurrences. About 

60 minutes. 25 cents. Eight copies required. 
Pageant of the Land of the Golden Man. By Anita B. Ferris. A simple dramatic 

presentation of The Land of the Golden Man, a book on South America for 

boys and girls. About 30 minutes. 15 cents. Ten copies required. 
Livingstone Hero Plays. By Anita B. Ferris. These plays for Juniors have 

been arranged from Livingstone Hero Stories, by Susan Mendenhall. About 

50 minutes. 15 cents. Ten copies required. 
I'is'.tors From the Colonial Period. By Anita B. Ferris. The chief characters 

are two children from the Blue Ridge Mountains who win interest in 

conditions there. 45 minutes. 15 cents. Ten copies required. 
ll'hy Didn't You Tell? By Anita B. Ferris. An Easter entertainment for 

children from five to ten years of age. 45 minutes. 15 cents. Fifteen 

copies required. 
Santa's Allies. By Anita B. Ferris. A play for children to show that the 

Christmas spirit may be diffused through the entire year. 45 minutes. 15 

cents. Twelve copies required. 
The Canvassers and Mr. Broivn. By Ralph A. Felton. A one-act play 

demonstrating the "every member canvass," fo-r use in rural churches. About 

30 minutes. 10 cents. Four copies required. 

COPIES OX APPROVAL 

One copy each of a selection will be sent out and charged to the person 
making the inquiry, together with a bill. Tke copies returned unused in salable 
conditions are then credited on the bill, the customer paying the postage on all 
copies returned. 

COSTUMES 

Complete sets of appropriate costumes for most of the above plays are 
available for rental. Write for catalog to the 

MISSIONARY EDUCATION MOVEMENT 
160 Fifth Avexue, New York. 



LIBRARY OF CONGRESS 



016 103 713 8 



